ECA731 - Assessment 1 : Curriculum Development - Visual Arts 7/8

Resource Review

This learning experience integrates artist references Ron Mueck, Sally Curcio and Slinkachu with presentation stimulus (google slides) to provide students with resources to learn about the principles of scale and balance in Art. This sequence of lessons targets the Australian Curriculum designed by the Australian Curriculum, Assessment and Reporting Authority (ACARA) with a focus on the band description “design, create and evaluate visual solutions to selected themes and/or concepts through a variety of visual arts forms, styles, techniques and/or processes as they make and respond to visual artworks” (n.d). The content descriptors for level 7 and 8 Visual Arts in the Australian Curriculum outline how students must be immersed in opportunities to “analyse how artists use visual conventions in artworks” and “develop planning skills for art-making by exploring techniques and processes used by different artists” (n.d). This tasks asks students to incorporate the approaches that Mueck, Curcio and Slinkachu take in their own creative practices’ by conducting thorough research in the ideation phase of generating designs for their sculpture. Mueck’s oeuvre provides a reference for the manipulation of scale in sculptural and spatial methodologies and introduces students to the notion of hyperrealism in expanded sculpture. Curcio’s practice demonstrates the approach to miniatures and small sculpture practices that provide context for the scale at which students will create. Slinkachu’s approach to interventionist street art blends the application of scale with a balance of socio-cultural and socio-political commentary that aims to invest students in the conceptual possibilities of this creative process.

Students are encouraged to consider the social and geo-political events occurring contemporaneously to inform the thematic undertones of their sculptures. The intention being, as Rogoff describes “that learning occurs as people participate in shared endeavours with others, with all playing active but often asymmetrical roles in sociocultural activity” (1994). This learning task offers teachers the opportunity to draw on their students’ funds of knowledge and personal perceptions about the world through shared discussion as they plan for their sculptures. Connecting with students on this level works towards addressing the Australian Professional Standards for Teaching (APST) from the Australian Institute for Teaching and School Leadership (AITSL). By exploring students individual understanding of socio-cultural and socio-political contexts, teachers work toward addressing Professional Knowledge Standard 1.0 “Know students and how they learn”. This approach aims to create opportunities for students to “extend their thinking, understanding and use of perceptual and conceptual skills (ACARA, n.d) and provide teachers with an inlet to strengthen their relationship with students in critical and creative ways.

Curriculum Aligned Learning Experience

 This learning experience is designed for students in the level 7 – 8 band undertaking a subject in the Visual Arts learning area. This sequence of lessons focusses on teaching students about the Principles of Balance and Scale in Art through small sculpture. This creative practice is informed by the work of Australian Artist Ron Mueck, American Artist Sally Curcio and British Street Artist Slinkachu. Students will also explore Deakin’s Small Sculpture Exhibition History to generate a link between online and in person art viewing experiences through exposure to a local Gallery.

The structure of this learning experience, as detailed in the sequence and lesson plan, has been designed to cover 3 x 80minute class over 3 weeks; one class per week.

Sequence Plan (Number of Classes in Unit)

Lesson 1: Introduction to Scale and Balance

Lesson 2: Sculpting and Assembling

Lesson 3: Sculpting, Setting and Reflecting

Presentation Stimulus: Click here

Lesson Plan 1:  Introduction to Scale and Balance

Learning Intentions

To learn about the principles of Scale and Balance by responding to artworks

To learn how to manipulate scale and balance to communicate ideas and meaning

Success Criteria

I can use descriptive language to analyse unseen artworks.

I can use authentic artist research to generate ideas for a tiny world sculpture.

I can use my knowledge of scale and balance to draw a design for my sculpture.

 
Learning Activities (Include Time Allotment)

1.      Guided Practice: Principles of Scale and Balance: Note Taking | 15 mins
Students learn about the theoretical underpinnings of balance including the laws of symmetry, asymmetry, radial symmetry and the relationship between the size of an artwork and It’s influence on the viewer.
Students take notes from google slides to consolidate their understanding.

2.      Guided Practice: Responding to Artworks: Class Brainstorm | 15 mins
Students view and respond to a selection of artworks on google slides that demonstrate a range of approaches to manipulating scale and balance in art making.
Students discuss their interpretation of artworks according to the way Artists (Ron Mueck, Sally Curcio and Slinkachu) use scale and balance to create ideas and communicate meaning, recording answers from the whiteboard in their visual diary.

3.      Guided Practice: Demonstration: Worked Example | 10 mins
Students watch a demonstration of how to:
- Mix paint with paper clay to create a range of coloured clay
- Cut, and sculpt paper clay to create small shaped objects
- Use PVA Glue to adhere objects inside the found object (Petri Dish)

4.      Independent Practice: Research and Ideation |20 mins
Students conduct independent research to find inspiration references for the design of their tiny world sculpture.
Students use key prompts: ‘Radial Perspective, Birds Eye View, Topological Landscapes, Ecology, Macro and Micro Scale’ to generate a range of ideas for their sculpture.

5.      Independent Practice: Planning for Tiny World Sculpture |20 mins
Students generate a range of ideas in their visual diary and then plan for two possible designs by drawing them to the scale of their petri dish (10cm Diameter)
Students evaluate their drawings using PMI (Positive, Minus, Interesting) to decide upon their preferred design.

Materials

Visual Diary: Worked Example of Design Drawings and Sculpture Sample

Circular Templates for Design Drawings

Stimulus (Google Slides: Artist References)

Paper Clay, Posca Markers, Scalpels, PVA Glue, Petri Dish

Lesson Plan 2:  Sculpting and Assembling 

Learning Intention

To learn how to use my knowledge of scale and balance to begin creating and assembling my tiny world sculpture

Success Criteria

I can apply the principles of scale and balance (symmetry, asymmetry, radial) to transform my design drawings into a three-dimensional sculpture.

I can use paper clay, posca markers, scalpels and PVA glue to sculpt small objects and adhere them to my found object (petri dish)

Learning Activities (Include Time Allotment)

1.      Guided Practice: Revisit Task Components and Class Expectations | 15 mins
Students are asked to reflect on their learning from last lesson by explaining their understanding of the principles of scale and balance and how they will be used in the creation of a sculptural artwork.
** for students absent in the first week, conduct a small group catch up of key skills and knowledge (theory).

2.      Independent Practice: Sculpture Creation and Assemblage |55 mins
Students apply their practical skills in hand modelling/moulding to begin creating objects from paper clay. Students use posca markers to apply colour to their clay focusing on creating likeness through detail. Students adhere (glue) objects into the found object (petri dish)

3.      Guided Practice: Pack Up, Clean, Plan Ahead | 10 mins
Students clean up their work spaces, place work in progress in designated storage areas (ensuring their name is clearly labelled on all work) and put a goal in place for next lesson.

Materials

Visual Diary: Worked Example of Design Drawings and Sculpture Sample

Circular Templates for Design Drawings

Stimulus (Google Slides: Artist References)

Paper Clay, Posca Markers, Scalpels, PVA Glue, Petri Dishes

Lesson Plan 3: Sculpting, Setting and Reflecting

Learning Intentions

To use my knowledge of the principles of scale and balance and my skills in hand modelling to finish my tiny world sculpture and reflect on my process.

Success Criteria

I can use paper clay, posca markers, PVA Glue and Epoxy Resin to finish assembling my tiny world sculpture.

Learning Activities (Include Time Allotment)

1.      Guided Practice: Demonstration of Epoxy Resin  | 10 mins
Students learn about material properties of epoxy resin and its role in the sculptural task.
Students use this demonstration to plan for how they wish to use Resin in the assembly of their final work, for example - Will it communicate the properties of water or glass? Does it encase an object for a particular reason?

2.      Independent Practice: Sculpting and Assembly | 50 mins
Students apply their practical skills in hand modelling/moulding to continue creating objects from paper clay. Students use posca markers to apply colour to their clay focusing on creating likeness through detail. Students adhere (glue) objects into the found object (petri dish)

3.      Independent Practice: Reflection | 10 mins
Students complete a reflection handout to document the tools, materials and skills used in the entire process of researching, designing, sculpting and assembling their tiny world artworks.

4.    Guided Practice: Pack Up, Clean Up | 10 mins
Students clean up their work spaces, place finished artwork in designated storage areas (ensuring their name is clearly labelled on all work) and discuss their understanding of the skills and knowledge learned as a part of the leave pass.

Materials

Visual Diary: Worked Example of Design Drawings and Sculpture Sample

Circular Templates for Design Drawings

Stimulus (Google Slides: Artist References)

Paper Clay, Posca Markers, Scalpels, PVA Glue, Petri Dish, Epoxy Resin.

Engagement and Student Voice

The Australian Curriculum outlines the Achievement Standard for student in level 7 and 8. It states that “students identify and analyse how other artists use visual conventions and viewpoints to communicate ideas and apply this knowledge in their artmaking” (ACARA, n.d). This task aims to provide students with the skills to fulfil this standard whilst also maximising opportunities to amplify student voice by engaging students in critical social discourse through Artmaking. This approach reflects Action 3.2 in the third Practice Principle from the Victorian Government’s Amplify Policy states “teachers co-design opportunities for students to exercise authentic agency in their own learning” (2019, p13).

The Department of Education and Training outlines High Impact Teaching Strategies (HITS) that are essential to effective engagement in the classroom. Throughout this learning experience, “Strategy 3: Explicit Teaching and Strategy 4: The Worked Example”(2022) are employed to deepen student’s engagement with the technical and conceptual properties of the task.  
Explicit Teaching is used during initial instruction when delivering presentation stimulus to guide the students understanding of the task requirements and when demonstrating creative process such as colour mixing, clay rolling and modelling, and resin setting. This strategy is essential to communicating unambiguous instructions and information to students as they begin each lesson to ensure they know how to approach the task and use class time productively.
Strategy 4: The Worked Example is used to present a sample of the preparatory work and the final artwork. A demonstration of how to lay out design drawings in the Visual Diary is provided at the top of Lesson 2 to establish the cross pollination of assessment requirements: documentation of creative process and production of final artwork. The examples below are two sample Tiny World Sculptures that have been created to demonstrate the end result of the creative process and provide a visual goal for students to work toward. These can help students solve conceptual and material issues in the design and ideation phase of their process and help to “reduce a learners’ cognitive load, so skill acquisition can become easier” (DET, 2022)

Pedagogy

Churchill instils the value of reflective professional learning whereby teachers become “practitioners... who continually examine their beliefs and practices along with their origins and the impacts they have on the learning process” (2021, p.75). This tiny world sculpture task aims to extend teachers’ practice of reflection and development into student’s learning experiences. Engaging with critical global discourse in the ideation and assembly phases of the task intends to allow teachers to use their individual experiences as people and professionals to bridge connections between students’ and life beyond the classroom. It invites students to consider the lived experiences of people in communities across the globe and imbue ethical and ecological semiotics into their work.

Bridget Green emphasises the importance of providing students with learning opportunities that assist them in forming a robust understanding of the world as they experience it. She describes that teachers “need to recognise the potency of threshold concepts that provide perspective and enable learners to process and organise their thoughts and experiences” (2021, p.37). Throughout the task, students are asked to reflect upon their individual role as members of a global society and consider how they will imbue this into their work. Students are required to think about they will manipulate the scale and balance of materials to create an artwork that visually explores socio-cultural and socio-political contexts that comment on the state of the world and contemporaneous issues. This aims to foster a sense of care and consideration in students about their place in the world and encourages them to develop a critical visual sensibility according to the way ideas and information are presented and represented.

References

 Art Gallery of New South Wales, (2013) Encounter, artgallery.nsw.gov.au/whats-on/exhibitions/ron-mueck/

Australian Curriculum, Assessment and Reporting Authority (ACARA) (n.d.). Visual Arts (Version 8.4), Australian curriculum. https://www.australiancurriculum.edu.au/

Australian Institute for Teaching and School Leadership. (n.d.). Australian professional standards for teachers. https://www.aitsl.edu.au/standards 

Churchill, R. (2021). Teaching: Making a difference, 5th edition. John Wiley & Sons, Incorporated.

Department of Education and Training (DET) (2022). High impact teaching strategies (HITS).
https://www.education.vic.gov.au/school/teachers/teachingresources/practice/improve/Pages/hits.aspx

Green, B. (2021). Revisiting the conceptual domain: Educational knowledge and the visual arts. International Journal of Art & Design Education, 40(2), 436–448. https://doi.org/10.1111/jade.12355

National Galley of Victoria NGV (2014), Ron Mueck, Australian Art https://www.ngv.vic.gov.au/exhibition/ron-mueck/  

Rogoff, B. (1994). "Developing understanding of the idea of communities of learners." Mind, Culture, and Activity 1(4): 209-229.

SGV (State Government of Victoria) (2019) Amplify, Department of Education and Training, Victorian Government